One of the most-talked-about movies at this year’s festival, Dear White People features a group of African-American students exploring the complexities of race today in a fictional Ivy League–school setting. The cast includes breakthrough performances by Tyler James Wiggins and Tessa Thompson, whose vibrant character Samantha White is described by one classmate as “if Spike Lee and Oprah had had a pissed-off baby.”

Listen Up Philip, directed by Alex Ross Perry, has all the trappings of a Wes Anderson film—the lead is played by Anderson favorite Jason Schwartzman, there is the precisely chosen title font (designed by musician Teddy Blanks), and a wry omniscient narrator. The movie deals with the nuisances and narcissism of the New York literary scene, with appearances by Vogue It girls Dree Hemingway and Joséphine de la Baume along the way.

It’s been ten years since Garden State premiered at Sundance and later went on to become the zeitgeist film of the early aughts. Now, it seems Zach Braff has pulled off another audience pleaser with Wish I Was There, which he wrote, directed, and notably raised over 3 million from Kickstarter in just a couple of days. It’s already been bought by Focus Features, a catchy sound track (and movie) coming soon.

While Nymphomaniac Part One was the “secret” midnight screening that’s now traditionally held at Sundance, it was actually The One I Love, starring Elisabeth Moss and Mark Duplass, that had everyone whispering. Nobody seems to want to get into detail of what exactly this movie is about, the only thing we know is that it’s about a couple going through a rough patch, on a weekend retreat . . . and eventually a shocking twist comes our way.

Kristen Wiig and Bill Hader have received rave reviews for their roles as depressed siblings in The Skeleton Twins. What many will be surprised to learn is that this film is not a comedy, but a very poignant dramatic story, and both actors are pitch perfect.

Let’s be honest, Kristen Stewart was never comfortable as the face of a vampire franchise. After some disappointing indie starts, we hear she’s found her footing with her performance as a military woman in Guantanamo in CampX-Ray. Meanwhile, Maggie Gyllenhaal also returned to her people with a supporting role in Frank, a movie where (for our misfortune) Michael Fassbender spends the entirety with a gigantic mask on his face.

The documentaries that will most likely hit your Netflix queue this year all focus on larger-than-life personalities. Mitt reveals the more private side of Governor Romney, examining why he was never really able to connect with voters during his Presidential campaign, while Life Itself commemorates one of the world’s most recognized (and beloved) film critics Roger Ebert and his battle with cancer and late-life presence on social media. And, perhaps most importantly, the government’s bullying of wunderkind and activist Aaron Swartz (the codeveloper of Reddit, who committed suicide last year) is explored with The Internet’s Own Boy.

Richard Linklater’s latest film, Boyhood, was shot over twelve years—a patience rarely exercised by celebrated directors. Using the same actors throughout the process, it’s fascinating to see stars like Ethan Hawke and Patricia Arquette age as it progresses, not unlike the famous British Up documentary film series, and to witness six-year-old Ellar Coltrane go through childhood to manhood all on screen.

The opening movie for Sundance, Whiplash tells the story of music student Andrew (Miles Teller), his abusive mentor, and his obsessive journey to become the next Buddy Rich. The movie had a well-received premiere, and Sony Pictures Classics already picked it up—the usual Sundance success story—but it’s truly the dazzling acting of Teller, who was hailed last year for his role in The Spectacular Now, that confirms he’s well on his way to bigger and better things.

Films like Low Down, which deals with the heroin addiction of jazz pianist Joe Albany, may not be perfect, but the dark territory, strong performances by Elle Fanning and John Hawkes, and directorial choices of Jeff Priess make it an example of those rough-around-the-edges stories we still love seeing come out of Sundance.

While everyone is talking about the Lena Dunham effect on indie cinema, it’s unfair to lump every narrative about a twentysomething women and their lives as a derivative of that. Three films at Sundance showed there are still endless stories—and ways to tell them—about female quarter-life crisis. Laggies sees Keira Knightley befriending a younger Chloë Moretz, in order to escape an engagement she dreads, while Obvious Child finds SNL vet Jenny Slate as a stand-up comedian juggling with the consequences of an unfortunate one-night stand. Finally, Happy Christmas shows the usually type-A Jenny (Anna Kendrick) at her worst—drinking, smoking pot—while crashing on her older brother’s couch in Brooklyn. But just in case you were missing some Lena face time, Dunham has a small role as her best friend.